“Hilma af Klint Descendant Challenges Proposed Partnership with David Zwirner Gallery”

**The Legacy of Hilma af Klint: A Struggle Between Commercialization and Spiritual Integrity**

Hilma af Klint, the enigmatic Swedish abstract painter, has long been revered as a pioneer of modern abstraction. Her works, deeply infused with spiritual and mystic undertones, have captured global attention, especially in recent decades. Yet, her descendants and the foundation overseeing her artistic legacy are at an impasse, debating the commercialization of her oeuvre and its alignment with her original vision.

### The Conflict Over Legacy Management

At the heart of this tension lies a proposed partnership between the Hilma af Klint Foundation and the David Zwirner Gallery, a major force in contemporary art representation. Proponents argue that such a partnership could amplify af Klint’s already growing international legacy, while critics — notably Erik af Klint, the foundation’s chair and artist’s great-grandnephew — warn of the dangers of “commercialization.”

Erik, the sole opposing vote among the foundation’s five-member board, dubbed the deal a “hostile takeover.” In an interview with *The Guardian*, he expressed concerns over the gallery’s influence, suggesting it could undermine the spiritual and artistic integrity of Hilma af Klint’s work. The contested proposal involves David Zwirner representing the artist’s estate and potentially facilitating the sale of select works created after 1916 to finance care for the rest of the collection.

### Protecting Hilma’s Vision

The paintings in question are not just symbols of artistic innovation. Hilma af Klint’s artistry reflects her immersion in spiritual philosophies such as Theosophy, Anthroposophy, and Rosicrucianism. Her groundbreaking series, *Paintings for the Temple* (1906–1915), was conceived as part of her belief in the cosmic interconnectedness of humanity and a higher spiritual order. Erik and other opponents of the David Zwirner deal argue that fragmenting these spiritual works through selective sales would sever their intended cohesion and meaning.

“Her paintings connect on a spiritual level,” Erik said. “Selling parts of a series is akin to breaking that connection, and that should never happen.”

### Statutes and Sales: The Legalities

Since its establishment in 1972, the Hilma af Klint Foundation has been bound by statutes that safeguard *Paintings for the Temple*. These state that the series — comprising 193 works — cannot be sold or dispersed. However, artworks created after 1916, until af Klint’s death in 1944, may be sold under specific circumstances to preserve the larger body of work.

In defense of the partnership, David Zwirner Gallery has emphasized its commitment to elevating af Klint’s international visibility through exhibitions and scholarship. This includes the forthcoming English translation of *Hilma af Klint and Wassily Kandinsky: Dreams of the Future* in 2025. A gallery spokesperson commented that the discussions aim to “expand Hilma af Klint’s global legacy” and to secure the long-term preservation of her art.

### A History of Contested Commercialization

This is not the first instance of her family’s resistance to commercial ventures involving Hilma af Klint’s work. In 2022, relatives strongly opposed the sale of 162 NFTs based on *Paintings for the Temple*. Even though these NFTs were widely marketed as non-commercial and innovative, they sparked fears of diluting the gravitas of af Klint’s profoundly spiritual works.

For Hilma af Klint, art was a vessel of higher truths. She rarely exhibited her work during her lifetime, convinced that the world was not ready to understand its purpose. Writing in her will, she dictated that her paintings could not be shown publicly until at least 20 years after her death in 1944. It wasn’t until the late 1980s that her art began receiving the recognition it deserved, leading to retrospectives and critical acclaim.

### David Zwirner’s Role: Opportunity or Overreach?

David Zwirner Gallery has been pivotal in introducing af Klint to broader global audiences. For instance, it played a role in the Glenstone Museum’s acquisition of her iconic *Tree of Knowledge* series (1913–1915). More recently, it showcased her works across its New York and London galleries. Advocates for the partnership claim Zwirner’s clout could secure her position as a luminary of modern abstraction alongside figures like Wassily Kandinsky and Piet Mondrian.

However, opponents within the family and the broader art community remain skeptical. Johan af Klint, a former chairman of the foundation, decried the potential deal as a “plundering of the foundation.” His criticisms underscore the anxiety surrounding a perceived shift from preservation to financial opportunism.

### Balancing Preservation and Progress

The ongoing debate exposes the broader challenges of managing historical artistic legacies in a contemporary, commercialization-driven art world. While partnerships with renowned galleries like David Zwirner can bring